www.list.co.ukltheatra
PREVIEW he . THE WASP FACTORY Tron, Glasgow. Thu 17—Sat 26 Apr
lllt- 'trlll.ttk.tllw .l‘\{ M '. ~° la." Hates f tl.:.tu'tl..'nt (Klan-Hiattth t' tr " e '3, lt:.t;atl_t',‘,, fittltrrf'fiaw' ’(1:.tlll.tft-.«1 ,t-.1l‘,.t",~'l *’ Tl '
lltltllllltttl’lll I‘Yt".t ll, '~'. “3" arhuhtl .tl'ehat»:tt l '.:'li‘. _t t-wlultlv'
Wllt‘ (tillltlf‘fi. 'l(; V: "MI W H w
‘.'Jlt() nitratew, thh uttltt .t ‘,i‘l|t-‘. t,
‘."t:l‘,‘ll'. attlthlrml .“tua a. .l .aitw - —' ’) .‘E‘tl . . . _ .
pREV'LW ‘ [AS " Educating Agnes, a versuon of School For Wives. In It, a “.‘y’Httrlll that jtlftflfltr‘. We,» 'll' ‘-
EDUCATING AGNES
Citizens. Theatre. Glasgow. wed 23 Apr_sat 3 May middle-aged man brings his young female ward out of Petham the 't( we! salt tt -e :, u -Ie.av t' her convent and announces hlS intention of marrying he<;au:;e str; (lath amt have it the Take a step back and it's easy enough to see the vanity her, with predictably catastrophic consequences. exaemeu tame a m 'l u ’l‘ and self deception of those around you. A second step ‘He hasn’t really brought her up to be his wife - he the teat let that mu" t;.lli_llt' 11;» it back might well reveal them in yourself. It’s this semi- hasn't thought of it until quite recently,‘ Lochhead prntlur; y, the leht e we at» t. t. u conscious awareness that none of us are quite who we explains. ‘He doesn't think he‘s doing anything wrong, 0 :rtalhl, thv, llltlt .t «; tl'» :‘.t av. think we are that perhaps lies at the heart of Moliere’s and in a sense in the time he hasn't. There are of ta:;<;rh..tte~. t (l Hut men an. -t :0 n v’ continued adoration in the world of theatre; he’s course some dodgy undercurrents, but he doesn‘t see thn; tevlval ut Malt ,( mt. Utltl ten. u n l“, merciless on his characters, yet somehow gives them 3 them. The thing about that, though, is Moliere Vtflhltllt ut the 't( l Jet. "ll/ewe lr it w u u; humanity. Perhaps the long tradition of Scottish understands people's motives better than they for that hhly ttvafl ht ll‘Ut letll tlw am- ‘McMolieres‘ tells us that here in Scotland we’re more understand themselves. There’s that moment with autller lt,‘:f). the 16, 'l(,- ,t :ar flI' t“: able to take the hard knocks his humour deals out. Moliere where the self deceptions people make are so ext llaths. 'lhe TllllH) at x tut the w law Liz Lochhead, the most recent exponent of the understandable — you have these moments where you m that at ueerhs; th rezteevtt melt ext 2', McMoliere, with such work as Miseryguts and Tartuffe say, despite the length of time that’s passed, “I know five years hr me. :.e pet thle .vhe ave finding places in the recent Scottish canon, is certainly somebody like that".' Go along and see others as they ultler than that, .uhu rwthf have m m aware of this in her latest adaptation for Theatre Babel, may well see you. (Steve Cramer) the never whelt It hut t)‘.ll;i",ttt:<l
:tl 198-1271”villiu'JttllIIW‘fifltll. talt there seeut Te he ll‘,‘."/ (tenetatteus, .11 PREVIEW DANCE the time (llfflJf/ifllth) t It trash? been MYTH Tramway, Glasgow, Thu 17—Sat 19 Apr
(lUlltt fer at’mut H1)":le"..?lll‘, .":l‘.’)li. at) rt should he a new tll‘flL’J‘./€:"j ’ur a
According; to Jung. the self It; unit, created ‘.‘/tl(:l‘ the whole generation et ,tuuhqer (Z()ll8(,‘l()tlf3£lll(lH10llll(l()llf;(fil()LiS mute. and a failure tu LitltllbllCUS.‘ embrace ()ut Llll(;()llS(LlOLlf3 llt'll‘th on fragmented tutmeti. It'é, This computed Tron am: this; notion hf ‘ttntltht; a balance vathln yUtltSL‘lf ahu healing; Cuth‘hernaulrl Theatre prmtaeheu your internal conflicts; that terms the them, for Fietlttstz L0?) must work a little different, ‘VUll' the Ballets; C u'e la B's; latest piece. novel. for the that wheel]. revelation. PurgatOh, lll the guise of a theraptsx'x .‘Jt'lltlllg rut/ht IS the that FfdllK :5 'lt fact a gm mm he setting tor twe eharaeterss' llltll‘m taal quest» for salvation as ewleht lr’flll the outset. ‘hut Herr/x they attempt te reunite two part“) at thezr frat;t‘..;retl sees W5 :15; we 0t sexerai psychological makeup fascinattrtg theathea‘ r,ha|lertry;',, 'Tt e ‘Jung saw mth as a way :llI() the {supeettseteasf ext/talus Ibllb‘lOll SHIICllBS tron: us t'n'lmq e it long standing Chmpah, memher. dancer. choreographer at the em; to the (ill/“,4 / .ve tee? and trained polyphonic; ginger Damien Jalet. ‘We titan-x or: about ~.‘/t‘:(:l: Frank .w‘ .im about her the ltnk between personal ttt{,'tltulug\, and patient traatha.‘ gender] he xa/s. ‘But the Il'tag‘:f/ The plece takes inspiration from the east :n the term; ef a also prevents at; opportahzt/ tor the Manga antrhatlon ehtttleu X. lh name“ twp opppsmg forces theatre to shift perspectt xes an .ve l: are cunstantl, 'l‘. hattle. 'lh the staging. (fittere'tt aesthet‘es explodmg (Ell/INKS. (log: 0r: We. a" hung together opposth elements) and eaten tut, UM/jfj'l‘g these ttmgs are euorthottsl/ realites are transcendeu.’ 5a,?) Jalet. ‘Jurtg tJ(:7‘(j‘.€:-’l that if greteswe. graphzc. notch: :tha’jeS ’tLll‘lzil‘ll, were to disappear and start again. the same and (JO!le their. rtrrectr/ (1W1 arctletgpes '.'.'Ou.<: he halt. so the p ece features farjnae- haterailsttcatl/ On Stage U " In Me. archetypal characters option. but there are May, 0* "tar/Iraq Mar: a' art. contort/oh and a filth eehtur, “jug/Alf; that grotesauer/ e Mr M ore et‘ec'w/e. soundtram pertur'hec me p, a t3’)",t).'l()l‘t c chm come You‘d be arttazerl. for a start. at the together ta; create a competing Spectacie. E"Cb-;r€:g!'tg self things we get up To :m c'ldtli/ acceptance and questaohthg the pause J eart' T(J/S.' hes. the COuEu' mark the heglmhg Of ‘13-" A5 9"" "9' 8‘5 (5"‘5r- W5"- :rahscendental quest. tN‘coa Husband 'Ste/e Crar' er,
86 THE LIST ‘ 3—3-1 At“ .395